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The Passage of Literature - Genealogies of Modernism in Conrad, Rhys, and Pramoedya (Hardcover)
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The Passage of Literature - Genealogies of Modernism in Conrad, Rhys, and Pramoedya (Hardcover)
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Joseph Conrad, Jean Rhys, and Pramoedya Ananta Toer are writers
renowned for crafting narratives of great technical skill that
resonate with potent truths on the colonial condition. Yet given
the generational and geographical boundaries that separated them,
they are seldom considered in conjunction with one another. The
Passage of Literature unites the three in a bracing comparative
study that breaks away from traditional conceptions of modernism,
going beyond temporal periodization and the entrenched
Anglo-American framework that undergirds current scholarship.
This study nimbly traces a trio of distinct yet interrelated
modernist genealogies. English modernism as exemplified by Conrad's
Malay trilogy is productively paired with the hallmark work of
Indonesian modernism, Pramoedya's Buru quartet. The two novel
sequences, penned years apart, narrate overlapping histories of
imperialism in the Dutch East Indies, and both make opera central
for understanding the cultural dynamic of colonial power. Creole
modernism--defined not only by the linguistic diversity of the
Caribbean but also by an alternative vision of literary
history--provides a transnational context for reading Rhys's Good
Morning, Midnight and Wide Sargasso Sea, each novel mapped in
relation to the colonial English and postcolonial Indonesian
coordinates of Conrad's The Shadow-Line and Pramoedya's This Earth
of Mankind. All three modernisms-English, Creole, and
Indonesian-converge in a discussion of the Indonesian figure of the
nyai, a concubine or house servant, who represents the traumatic
core of transnational modernism. Throughout the study, Pramoedya's
extraordinary effort to reconstruct the lost record of Indonesia's
emergence as a nation provides a model for reading each fragmentary
passage of literature as part of an ongoing process of decolonizing
tradition.
Drawing on translated and un-translated works of fiction and
nonfiction, GoGwilt effectively reexamines the roots of Anglophone
modernist studies, thereby laying out the imperatives of a new
postcolonial philology even as he resituates European modernism
within the literary, linguistic, and historical context of
decolonization.
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